One Minute To Twelve

It is with much irony then, that Parsons titles one of his works
Alphabet. He is referencing a conversation between white and orange;
and between elements rectilinear, circular, horizontal and vertical
that while placed at a discrete distance are quite actively engaged.
Visually, he constructs a rhythm that is almost musical  and that
rhythm involves spatial play that is both harmonious and dissonant.

Braille is another (spatial) code that Parsons plays with. Depart
reads with a wonderful ambivalence. Its braille-like bumps look at a
distance, to inhabit both positive and negative space  in exactly the
same way as the tips of the bracket-like, attenuated form of the
sculpture probe ambiguously backwards and forwards into our (the
viewer's) space. Quite literally then, things come and go with this
piece. Hence its title, and thats without any ability to read braille.

Feel Free looks braille-like from a long way back  in a piano
keyboard sort of a way. While The Shortest Day bristles with a greater
stature  more the anodised blue of organ piping (beneath its body of
brushed steel)  than the delicacy of the "ivories" opposite.